Brazil at Art Basel Hong Kong 2026

  • Art Fair, Brazilian Art, Fair, Sales Results
Almost 20,000 kilometers separate Brazil from Hong Kong, yet within the condensed geography of Art Basel Hong Kong, these distances collapse into a shared visual and conceptual space.

In a context still largely shaped by Asian narratives, Brazilian artists are increasingly asserting their presence. This report seeks to examine how Latin American and more specifically Brazilian practices resonate with parallel socio-historical questions across Asia. Histories of colonialism, resistance, appropriation, and reappropriation unfold differently across these regions, yet reveal striking conceptual affinities. Artists from both contexts engage with layered identities, contested narratives, and the rewriting of cultural memory, creating unexpected dialogues across continents.

At the intersection of these exchanges, Sophie Su Art Advisory brings a distinct European perspective, attentive to the subtle forms of “exoticism” that emerge in the encounter between these two seemingly distant worlds. While geographically and culturally divergent, Brazil and Asia share a capacity to generate powerful new imaginaries each, in its own way, offering profound sources of inspiration that continue to reshape and challenge Western artistic frameworks.

Brazilian Galleries

Almeida & Dale

On their main booth, curated by Cristiano Raimondi, Almeida & Dale reports strong sales, including various paintings from Chen-Kong Fang, a monotype by Lygia Pape sold for $80.000, Autumn Settings, a gelatin silver print by Lang Jingshan for $10.000, the sales also includes works by Jaider Esbell, with a work on paper and a painting ranging between $30.000 and $150.000, as well as a painting by Amadeo Luciano Lorenzato sold for $140.000.

The presentation also includes a solo project by Thiago Hattnher in the Kabinett sector, where the 34-year-old artist, following a recent solo exhibition at Kurimanzutto, sold out the entire booth, with all 12 works placed at $10.000 each. A young artist with a rapidly rising profile, Hattnher consistently meets strong collector demand, with waiting lists forming around his production and works often selling out during preview phases, underscoring his growing market momentum.

The booth continues to articulate a dialogue between Asian diaspora artists and Latin American practices, bringing together figures such as Manabu Mabe and Tomie Ohtake, recently featured in a dialogue with Marina Pérez Simão at Pace Gallery, Tokyo (November 4, 2025 – February 11, 2026), alongside key names including Mira Schendel and Alexander Calder. Contemporary voices such as Lidia Lisbôa and Vivian Caccuri further expand this framework, reinforcing the gallery’s role in connecting diasporic and Latin American narratives within the global art scene.

Almeida & Dale Gallery’s booth view

Lang Jingshan
Autumn Settings, n.d
Gelatin silver print
39.4 x 29.4 cm

Sold

Almeida & Dale Gallery’s booth view - Thiago Hattnher at the Kabinett Sector

Thiago Hattnher
Untitled, 2024
Oil on canvas
30 x 24 cm

Mendes Wood

Once again participating in Art Basel Hong Kong, the Brazilian gallery Mendes Wood brings in its booth a refined selection of artists spanning generations of Brazilian art.

Lucas Arruda, known for his introspective landscapes, was recently exhibited in Lucas Arruda at the Musée d’Orsay (2024), marking a significant institutional milestone. Tomie Ohtake, in turn, is represented in Hong Kong through the collection of M+, reflecting her lasting presence within major international institutions and reinforcing her role in the global history of abstraction.

Lygia Pape was recently featured in Lygia Pape: Weaving Space at the Pinault Collection (October 9, 2025 – January 26, 2026). The exhibition centered on Ttéia 1, C (2003/2025), a major installation from the Pinault Collection, where copper wires stretched across space create a shifting sensory environment, activated by light and the viewer’s movement, fully embodying Pape’s concept of weaving space. On April 7, the gallery Mendes Wood will open a solo exhibition dedicated to the artist at its São Paulo space, further reinforcing her continued institutional and market relevance.

Among contemporary voices, Marina Perez Simão and Solange Pessoa in Solange Pessoa: Corpus at the Museu de Arte de São Paulo (2024). The presentation is complemented by Paulo Nimer Pjota, Paulo Monteiro at the Pinacoteca de São Paulo (2023), as well as Patricia Ayres, Paloma Bosquê and Marcos Siqueira, reflecting the gallery’s ability to articulate a nuanced and globally resonant vision of Brazilian art.

Mendes Wood Gallery’s booth view

Lygia Pape
Ttéia 1A, Plana Dourada, 2000
Golden thread, nails, and light,
292 x 390 x 190 cm

International Galleries

White Cube

London

White Cube highlights the sale of an oil on linen by Marina Rheingantz for $150.000.

Rheingantz develops a painterly practice that oscillates between abstraction and landscape, constructing imagined terrains through layered brushstrokes and subtle chromatic variations. Her compositions evoke fragmented geographies and emotional topographies, where memory and perception merge into fluid, atmospheric forms.

Her work has gained increasing international visibility, with recent solo exhibitions at White Cube and Galeria Fortes D’Aloia & Gabriel, and institutional presentations including her participation in the 58th Venice Biennale and exhibitions at the Pinacoteca de São Paulo, reinforcing her position within the global contemporary painting scene.

White Cube Gallery’s booth view

Marina Rheingantz
Rosemary, 2026
Oil on linen
150 x 130 cm

Sold: $150.000

Max Hetzler

Berlin

The gallery Max Hetzler report the sale of a work by Janaina Tschäpe, for $150.000.

Tschäpe’s practice unfolds between painting, photography, and sculpture, drawing on myth, the natural world, and aquatic imaginaries. Her large-scale compositions evoke fluid, organic landscapes where body and nature merge, reflecting a sensorial and psychological approach to abstraction.

Her international presence continues to expand with Janaina Tschäpe at Hastings Contemporary (June 13 – September 13, 2026), her first major institutional solo exhibition in the UK, presenting new paintings inspired by the coastal landscape of Hastings. This follows recent presentations in Berlin at Galerie Max Hetzler, and builds on a trajectory of solo exhibitions at major institutions including the Den Frie Centre of Contemporary Art, Kasama Nichido Museum of Art, Irish Museum of Modern Art, and the Contemporary Art Museum St. Louis.

Max Hetzler Gallery’s booth view
Janaina Tschäpe
Body of snow, 2025
Oil and oil stock on linen
218.4 x 193 x 3.8 cm
 
Sold: $150.000

Ben Brown Fine Arts

London

Ben Brown Fine Arts reports the sale of Vik Muniz’s Woman with a Parasol, after Claude Monet, 2025, for $40.000.

A central figure in Brazilian contemporary art, Muniz is known for constructing images from unconventional materials, such as sugar, chocolate, or waste, which he then photographs. His work critically engages with image-making, perception, and material hierarchies, often reinterpreting canonical artworks through unexpected mediums.

Represented in Japan by NCA | Nichido Contemporary Art, the artist structures the distribution of the Dez Fotos editions across key markets: two works in the United States with Sikkema Jenkins & Co and Rena Bransten Gallery; two in Latin America with Galeria Nara Roesler and Xippas Montevideo; two in Europe with Galerie Xippas and Galeria Elba Benítez; and two in Asia with NCA | Nichido Contemporary Art and Ben Brown Fine Arts, with two editions remaining unplaced.

In 2024, he presented Vik Muniz at the Museu de Arte de São Paulo, reaffirming his role in bridging contemporary art with social engagement.

Ben Brown Fine Arts Gallery’s booth view

Vik Muniz
Woman with a Parasol, after Claude Monet, 2025
Archival inkjet print
161 × 127 cm
Edition 6/6 + 4AP

Luhring Augustine

New York

Luhring Augustine highlights the work of Lygia Clark, a seminal figure of Neo-Concretism whose practice redefined the boundaries between artwork and viewer. The gallery is presenting three works on paper, each priced around $200.000, reflecting the sustained market demand for her work.

In parallel, they were negotiating the sale of a Bicho with a major American museum, underscoring the continued institutional interest in Clark’s practice.

A work from her Bicho series was recently acquired by a major American museum, underscoring the continued institutional demand for her practice. Her work has also been the subject of recent institutional presentations in Europe, notably at the Neue Nationalgalerie in Berlin and the Kunsthaus Zürich (2025), reaffirming her central role in the global re-evaluation of postwar abstraction and participatory art.

Luhring Augustine Gallery’s booth view

Lygia Clark
Espaço Modulado, 1958
Cardboard collage
26 x 30,5 cm

Carlos Ishikawa

London

The gallery Carlos/Ishikawa, founded by Vanessa Carlos, originally from São Paulo, brings together a strong group of artists, both Brazilian and international, whose practices engage with questions of identity, materiality, and social structures.

Maxwell Alexandre has gained international recognition with his large-scale paintings, recently presented in Maxwell Alexandre: Pardo é Papel at the Musée d’Art Contemporain de Lyon (2024). Marlene Almeida explores material memory through textile and installation, and in 2025 participated in the 36ª Bienal de São Paulo. In 2024, she was also included in Mãos: 35 anos da Pinacoteca at the Pinacoteca de São Paulo. Antonio Tarsis, whose work reflects Afro-Brazilian memory and spirituality, was recently featured in When We See Us at the Kunsthalle Basel (2024), highlighting the rising visibility of Brazil’s Northeast on the international stage.

In terms of pricing, Maxwell Alexandre’s works are positioned between $16.000 for canvas pieces, $24.000 for works on paper, and up to $28.000 for large-scale paper formats. Marlene Almeida presents wall sculptures around $20.000, while her paintings reach approximately $25.000, reflecting a growing market recognition aligned with their increasing institutional visibility.

Carlos/Ishikawa Gallery’s booth view
Overview of Maxwell Alexandre artworks at Carlos/Ishikawa booth
Marlene Almeida
Abismo, 2019
13 voile fabric objects filled with sand; mineral pigments, natural binders and ferruginous concretions
118 x 120 cm
 

Asking Price: $20.000.00

Esther Schipper

Berlin

Rafa Silvares operates at the intersection of sculpture, architecture, and digital image-making. His installations investigate perception, simulation, and spatial experience, often engaging immersive and hybrid environments.

His work has recently been presented in international contexts, including European exhibitions and fairs in 2024, consolidating his position within a discourse on new materialities and expanded spatial practices. On April 21, 2026, the exhibition Double Two opened at 47m Contemporary, featuring works by Jac Leirner and Rafa Silvares, further reinforcing his growing presence on the European scene.

Esther Schipper Gallery’s booth view
Rafa Silvares
Load, 2025
Oil on linen
180 x 140 cm
 
Asking Price: $43.5000

Meyer Riegger Wolff

Seoul

A key figure in contemporary Brazilian art, Paulo Nazareth develops a practice grounded in displacement, colonial memory, and invisible histories. Often working through performance and long-distance walks, he positions the body as a living archive of transatlantic narratives linking Latin America, Africa, and the diaspora.

His recent institutional exhibition Paulo Nazareth: Melee at the Institute of Contemporary Art Miami (2024) reinforced his presence in the North American context. In 2026, he further expands this trajectory with a major exhibition at the Punta della Dogana (March 29 – November 22, 2026), curated by Fernanda Brenner, where his long-term performative journeys across the Americas and Africa, often undertaken barefoot, are presented as a critical reflection on colonial histories, systemic racism, and the embodied nature of movement and memory.

Meyer Riegger Wolff Gallery’s booth view

Paulo Nazareth
Untitled[capeta antes da embriaguês], 2021
Acrylic on canvas
30 x 30 cm

Asking Price: $14.000

Mennour

Paris

The gallery Mennour brings the Brazilian artist Sidival Fila, whose practice unfolds at the intersection of spirituality, materiality, and memory. A former Franciscan friar, Fila works with reclaimed ecclesiastical textiles, antique vestments and worn fabrics, which he transforms into austere, contemplative compositions through stitching and layering, activating the latent histories embedded in the material.

Rooted in a meditative approach to time and gesture, his work resonates with a form of spirituality close to Zen philosophy. In this context, the gallery creates a dialogue between Fila’s practice and that of Japanese artist Tadashi Kawamata, highlighting shared concerns with material transformation, impermanence, and the poetics of construction.Rooted in a meditative approach to time and gesture, his textile practice resonates with principles close to Zen philosophy, particularly in its attention to repetition, impermanence, and silence, creating a subtle dialogue with Asian sensibilities and reinforcing the relevance of his work within this context. His work has recently been presented internationally, notably in the exhibition “Sidival Fila” at Galerie Mennour, Paris (2024), reflecting the growing recognition of his practice within the European art scene.

Mennour Gallery’s booth view
Overview of Sidival Fila and Tadashi Kawamata

Sidival FilaI
Metafora Avorio 18, 2025
19th century hemp, sewn with cotton threads, on stretcher
100 x 64 cm

David Zwirner

New York

Lucas Arruda develops an introspective painting practice situated between abstraction and landscape. His small-scale works, often based on memory, evoke subtle atmospheres where light becomes the primary subject.

Represented by David Zwirner, he recently exhibited in New York (2023–2024), consolidating his position within major international collections.

David Zwirner Gallery’s booth view

Lucas Arruda
Untitled (from the Deserto-Modelo series), 2025
Oil on canvas
18 x 22 cm

Asking Price: $250.000

Proyectos Monclova

Mexico City

The gallery Proyectos Monclova brings together an intergenerational selection of artists spanning Latin American and U.S. contemporary practices, including Macaparana and the Mexican artists Gabriel de la Mora, represented in Brazil by Simões de Assis.

Gabriel de la Mora, in turn, builds a conceptual practice centered on material transformation, using unconventional materials, such as mother-of-pearl and abalone, to expand a dialogue between natural elements and constructed systems. His works range from $65.000 for smaller formats to $135.000 for larger pieces, with collectors increasingly identifying and acquiring key works, including placements with institutions such as M+. The artist is currently on view at Perrotin, New York, until April 11 with his solo exhibition Repeated Original, where he explores the meticulous fragmentation and arrangement of eggshells and glass onto canvases.

Macaparana develops a rigorous abstract practice rooted in geometry, rhythm, and repetition, exploring chromatic structures and spatial balance. His works are positioned between $20.000 and $35.000, reaffirming his solid presence within the lineage of Latin American abstraction. His recent solo exhibition at the gallery, held during Zona Maco (February 2026), marked his first presentation in Mexico with the gallery and closed with strong results, further consolidating his international trajectory.

Proyectos Monclova Gallery’s booth view

Macaparana
Untitled, 2024
Pigments and acrylic paint on canvas
100.5 × 100.5 × 4 cm

At Art Basel Hong Kong, a fair historically shaped by the strenght and specificity of Asian markets, the growing presence of Brazilian artists signals more than a geographic expansion, it reveals a deeper, almost intuitive dialogue between cultural imaginaries. While only two Brazilian galleries were officially present this year, 10 international galleries representing approximately 4.2% of the fair’s 240 exhibitors, chose to integrate Brazilian artists into their programs, bringing them into an Asian context that is both demanding and highly codified. 

What emerges is not a forced insertion, but a natural resonance. Brazilian artists, through their layered narratives shaped by histories of colonialism, syncretism, spirituality, and reinvention engage in subtle yet powerful conversations with Asian philosophical frameworks. This affinity was palpable across several booths, where curatorial choices highlighted works capable of transcending borders without losing their specificity.

In this context, presenting Brazilian artists in Asia may still appear as a bold curatorial and market decision. Yet, the results speak for themselves: institutional interest, collector engagement, and solid sales confirm that this is not a passing trend, but a structural shift. Brazilian art is no longer peripheral to the global narrative it is actively reshaping it, even on the other side of the world.

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